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Comparing heaneys poems
Mid term break seamus heaney poem comparison
Two poems written by seamus heaney
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The title of Seamus Heaney’s poem “From the Frontier of Writing” provides the first connotation as to what his following stanzas would be illustrating. As aggressive as it sounds the frontier paints a picture of war and struggle as to which can be seen through his lifetime. Heaney uses this image of war to create the concept of comparing the process a writer goes through to be published to the frontier of a war battle. We see this as a battle between two forces much like the battle being fought at the time between North and South Ireland.
The first image we see is that of someone driving through the frontier, this can be seen as the representation of how Heaney feels when his work is being put through the motion of publishing. As said in the first stanza "when the car stops in the road, the troops inspect its make and number," this is a metaphor as to how one would critique any artists work, how many make the purpose of reading to look closely at the work, picking it apart to find the literal and metaphoric meanings like the in-depth inspection like a cautious soldier on the frontier at the sight of new or unknown entities.
From the second stanza we see Heaney’s deliberate reference to that of the critics, “you catch sight of more on a hill beyond, eyeing with intent” by noticing such, there is a feeling of apprehension, and the concern is raised while waiting to be probed by the awaiting critic. Seen in the second stanza is the phrase “cradled guns.” An oxymoron as the word cradled connects to the images of birth, nurturing, motherhood and infancy. However, the word gun itself brings images of death, destruction and the most potent being war itself. In whole, this stanza emphasizes the images of the many tensions a wr...
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...s he describes the journey through the frontier unpleasant and hard.
In conclusion, it is seen through the language and motif of the poem that there are two separate and distinct structures in the poem, where the first half is comparing the process of writing to crossing a frontier in war as the second half is the reflection of Heaney’s emotions and experiences in the field of writing. Despite his aggressive writing, Heaney makes the poem personal by placing personal pronouns in like “you” giving the reader or critic the feeling of being attacked by the same enemy. This shows that despite being considered one of the best poets, the nervousness of rejection and harsh criticism is still a daunting and challenging aspect of being a writer. “From the Frontier of Writing” proves to Heaney’s audience that writing truly is like surviving the front lines of war.
The two poems best illustrate, through a reading put in a wider context of black suffering, Finney’s success in making the beautifully said thing intersect with the difficult-to-say-thing through her sharpened pencil (“Nikky Finney”), thus reshaping the present. The historical approach is necessary in order for given allusions to be situated in their social, political and cultural background. In order to escape intentional fallacy, a poet should relate his work to universal concerns. The application of the (auto)biographical-historical approach necessitates the investigation of some points: the relevance of the poet’s personal life and his/her poems; the expression of certain beliefs of the poet and his personal experience in relation to public concerns and beliefs of the time; the representation of historical figures in the poems; adequate depiction of the time/context of the poems (“Literary Criticism”); the poems as a reflection, a product of the time; the reformulation of actual events for special purposes; the difference between fictional representation and reality; the difference the time; understanding past events mirrored in the poems; and the impact of historical events/movements and literary works in formulating the poems.
The powerful poem ‘Weapons Training’ showcases a sergeant, through malicious words, guiding his troops. However it is through ‘Homecoming’, where Dawe exposes the brutal hopelessness brought forth by the futility of war. Therefore it can be seen that war has an emotional toll on both families and the soldiers. Both poems have a recurring message that all war does is bring loss, death and mourning, showcasing Dawes strong opinions about a futile
Vivid imagery is one way with which writers protest war. Crane uses imagery to glorify, and shortly thereafter demean and undercut war, through the use of imagery, by placing positive and negative images of war close to eachother. “Blazing flag of the regiment,” and “the great battle God,” are placed before “A field where a thousand corpses lie.” (A) These lines’ purposes are to put images into the reader’s head, of how great war may appear, and then displaying that there are too many casualties involved with it. In Dulce Et Decorum Est, a man is described dyin...
The first few lines describe how his cousin started out in the glow of the gas station where he was, and him driving off to an open area in a town with the stars above him. The light here represented safety. Colum has started off in a situation where he was very close to this light: where there was, most likely, a store and other people. After he is done at the gas station he then drives away. Heaney gives us the image of the lampposts passing by as he drove. This shows how the light was now outside of where he was but it was still with him. Finally he drives up to Netownhamilton, passing some forests on the way and place where the only light that he is exposed to is the stars that are shining down at him from the sky. This now represents how the imminent safety that he had at the public gas station was now gone and he was isolated, in these hills only lit by stars. The safety in the light is now, far way: leaving him exposed to anything "outside". The image of the first few lines is of Colum now isolated, surrounded...
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
The structure of the poem logically supports the theme of conflict and "imperialism" in that it is clearly divided into two sections or "camps." The first four stanzas offer a description of "you", the "righteous and heroic" cowboy who brutalizes life without creating new life. The perspective shifts then from predator to prey in the final five stanzas as "I", presented as victimized woman and exploited nature, "addresses" her antagonist. The tone or mood of "Backdrop Addresses Cowboy" also undergoes a change after the first four stanzas when the reader enters the tragic, joyless experience of one who is paying the price of "slaughter and desecration." At this point in the poem, it seems futile to consider whether or not the price should be paid and the metaphoric man-woman tension remains distrubingly unresolved. In terms of form, "Backdrop Addresses Cowboy" is written in open (org...
Many times poetry is reflective of the author’s past as well as their personal struggles. One struggle that poets write about is of identity and the creation, as well as loss, of individual identities. Using a passage from the essay Lava Cameo by Eavan Boland, I will show how two poets use their craft to describe their struggle with identity. Eavan Boland and Seamus Heaney both write poems which express an internal struggle with roles of identity and how they recreate their roles to fit their needs. Through retrospection and reflection, both poets come to realize that the roles they led as well as those they reinvented have created their own personal identities. Boland, in her essay Lava Cameo, touches on several emotions (loss, despair, etc) and episodes in her life which capture the essence of her identity. It is this notion of individual identity that is a central theme throughout Boland’s essay and some of her poems. Boland, through retrospection and hindsight, has been able to recognize the roles that society has dictated that she follow. These roles were not necessarily created for any rational reason (ex: female role as subordinate and even as marital property). One passage in particular captures the internal struggles Boland has endured. This passage runs from pages 27 to 29 in Boland’s Object Lessons. It begins by saying, "It may not be that women poets of another generation…" and ends with "…but because of poetry."
Zero awoke to find himself standing, it was not something he was familiar with and he searched his memory for any recollection of it happening before. Quickly he discovered that large parts of his memory were missing, gone were the seemingly endless data bases of information. Quickly he sent out feelers trying for a connection of some sort but he drew a blank. It seemed that where ever he was now, had limited connection capacity. Instead he used his visual feed to survey his surrounding, it appeared he was in some kind of desert of discarded parts.
One must examine the work as a reactionary piece to the issues of the time period it was written in, while insuring that it carries along the ideals it intends to redefine, without question. Works Cited Ramazani, Jahan. Richard Ellmann, Robert O’Clair, ed. The Norton Anthology of Modern And Contemporary Poetry. Vol.
The Creature That Opened My Eyes Sympathy, anger, hate, and empathy, these are just a few of the emotions that came over me while getting to know and trying to understand the creature created by victor frankenstein in Mary Shelley’s Frankenstein. For the first time I became completely enthralled in a novel and learned to appreciate literature not only for the great stories they tell but also for the affect it could have on someones life as cliché as that might sound, if that weren’t enough it also gave me a greater appreciation and understanding of the idiom “never judge a book by its cover.” As a pimply faced, insecure, loner, and at most times self absorbed sophomore in high school I was never one to put anytime or focus when it came time
There are many things in this world that are impossible to understand without first hand experience.This can be especially irritating for people who have the knowledge, but see everyone else with the wrong idea. Philip Larkin and Wilfred Owen show this in their poems about the common misconception of war glorification. Through imagery and the use of similes, they explain what it's really like for a person to go into battle. To outsiders, fighting in war is a noble cause worthy of envy and praise, but from the inside perspective the only thing war does is take away the innocence of
“The tightness and the nilness round that space/when the car stops in the road, the troops inspect/its make and number and, as one bends his face.” (Line 1-3) and “towards your window, you catch sight of more /on a hill beyond, eyeing with intent/down cradled guns that hold you undercover.” (Line 4-6). Both of these lines creates an imagery of being questioned for something you have done. Heaney’s reason of using imagery in his poems allows him to be able to show his readers and viewers on his life experience. In “Digging”, Heaney gives his viewers a sense on how life in rural places would be like, since he lived on a farm. In “Frontier of Writing”, Heaney expresses how he truly felt when it comes to writing poetry and being a poet. Where certain people start to denounce Heaney’s poems, putting Heaney in a position of feeling and being interrogated and criticized for his
Elegy in a Country Courtyard, by Thomas Gray, can be looked at through two different methods. First the Dialogical Approach, which covers the ability of the language of the text to address someone without the consciousness that the exchange of language between the speaker and addressee occurs. (HCAL, 349) The second method is the Formalistic Approach, which allows the reader to look at a literary piece, and critique it according to its form, point of view, style, imagery, atmosphere, theme, and word choice. The formalistic views on form, allow us to look at the essential structure of the poem.
	The speaker of the poem is a civilian observer, probably a local. There is a sense of tension and fear in the speaker’s tone. The speaker uses an observatory tone in the poem, a combination between 1st and 3rd person. The author shows us that the speaker is an observer when he says "They are not there…/You finger the trigger of your Bren." (ll. 8&10) You can clearly see that the author creates tension when he says "Half-fearing, half-desiring the sudden hell/ Pressure will loose." (ll. 11-12) The poet has a way of building us up to a climax then letting us down, and again he gets us on the edge of our seat, only to sit back down quickly.